A woman of heart devoted to the wedding bed and its antique laws, marries a man of reason and action, a man of state and society. This is the story of her rebellion against a world that lacks the values, for her indispensable, of respect, loyalty, trust, responsibility, love. Medea accomplishes the highest sacrifice. The most atrocious revenge. The only way to gore this world is to strike it... in the heart. A story, in which parents do anything for their children's best, and which turns into tragedy in the name of love. A tragedy of love and freedom. A tragedy where the children, all children, are the ones who pay. And in all this, everything is human.... terribly human.
To act out this drama are two actors, just as in ancient Greece.
The text is that written by Euripides. Two characters have been cut, the wet nurse and the pedagogue. The text of the chorus is also cut. The role of the chorus is given to the audience whom the characters sometimes address directly. The spectators in this way are declared witnesses and judges of the events in the house of Medea and Jason. The rest of the text is present in the dialogues and monologues. The translation has been done, with the maximum respect for the text, comparing several translations in different languages, such as Italian, French, English, Spanish and Norwegian with the aim of finding a version that works on stage. The work on the text stays as true as possible to the tragedy written by Euripides.
Selected for INTERNATIONAL PUGLIA SHOW CASE 2012 – a showcase for international theatre operators organized by Teatro Pubblico Pugliese http://pugliashowcase.teatropubblicopugliese.it/eng/
Selected for Festa della Toscana 2012. The project won a residency: Residenza Offx3 by SpazioOff in Trento;
Finalist of the Theatre Festival Vd'A – Voci dell'anima to held in the autumn 2011 in Rimini.
Performances for students of several high schools in various Italian cities : Naples, Biella, Bari etc;
Premiere at Teatro Kismet Opera in Bari April 2011 and preview at Teatro Civico14 in Caserta.
Medea, 2441 years and not feel them
A truly great result, intimate but impressive, harrowing and immense at the same time, mostly thanks to the protagonist and the deuteragonist, who's acting was done in a masterly way, and their capacity to carry us into the work / story.
Antonio Stornaiuolo, www.quartaparetepress.it, November 2011
An extremely complex demonstration of acting and Annika Strøhm is superb in designing a sorceress and a woman so similar to our neighbour, with the determination and the temperament of a Anna Magnani. And Salvemini with a simple changing of a jacket or a coat provides to interprete all the male characters. All of them with the same hypocricy, with the same illusoric supremacy over the female universe that hits without pity and leaves knocked out and without will.
Nicola Viesti Hystrio Settembre 2011
This powerful staging of the text of Euripides.... shows us how the great classics are absolutely always contemporary... and moreover the possibility for the actors to carry out the most outstanding performances...
Nicola Viesti Corriere del Mezzogiorno Agosto 2011
The greec tragedy .... has been masterly translated, directed and interpreted by the couple Annika Strøhm and Saba Salvemini of Areté Ensemble...
Angelica D'Apote www.teatro.org Agosto 2011
Everything is visible; the dressing, the leaving of the stage and the characters, everything smells of a Meierchol'dian solution that embraces, without contrast, the foldings of the mimetic naturalism. The scene never stops to be a continuous construction, it seems almost that it wants to declare it self a humble instrument for the representation of the tragic, conscious of the numerous versions of staging Euripides. This intuition reveals itself as the skill of reading and the wish to dry out the poetic prospective in the direction. As a conscious choice the wish is to make the text return to speak to us, and that is just what happens.
Christian Iorio Arteatro Aprile 2011
directed, translated and interpreted by Annika Strøhm and Saba Salvemini
Project supported by the theatre Spazio Off in Trento and Resextensa.